Artist, curator and arts consultant Jennie Syson offers advice on different ways of approaching galleries. Artist, curator and arts consultant Jennie Syson offers advice on different ways of approaching galleries. --- ## On this page [Introduction](https://www.artistsnow.com/resource/approaching-galleries.html#Introduction)  [How to approach galleries](https://www.artistsnow.com/resource/approaching-galleries.html#How%20to%20approach%20galleries) [First steps](https://www.artistsnow.com/resource/approaching-galleries.html#First%20steps) [Before you approach a gallery](https://www.artistsnow.com/resource/approaching-galleries.html#Before%20you%20approach%20a%20gallery) ## Introduction When I was a gallerist, I often wished there was a simple guide I could send to artists who ask about showing work or getting advice: something useful and informative, which doesn’t destroy dreams but at the same time doesn’t give unrealistic expectations about the art world.  Your own instinct as an artist is probably your strongest – and building relationships with galleries is no different to any other kind of human interaction. Don’t be rude. Be genuine. Don’t force things if it doesn’t feel right. --- ## How to approach galleries There’s no guaranteed method for getting gallery representation or being invited to exhibit. The idea of ‘approaching a gallery,’ which is often encouraged in art school, doesn’t reflect how an artist might build a sincere and valuable relationship with a person or organisation who’s interested in selling or showing their work.  Turning up with work in-person or forcefully pitching yourself can feel awkward for both sides. As an artist, you might feel you risk rejection, humiliation and ridicule. As a gallerist, it can feel like being confronted by an overly eager stranger.  So why do people still do it? Because artists want their work seen: since the time when recent graduates lovingly compiled plastic portfolios of carefully selected slides, to the modern phenomena of tagging the world on social media. But coming on too strong can backfire and leave you feeling discouraged.  --- ## First steps Find out more about what galleries there are out there, who works for them, what they show and what interests them (what are their research interests? what exhibitions have they curated before?)  Doing your research will build your confidence and helps you make meaningful connections when your paths cross. Speak to peers, stay connected with people you studied with, and learn from artists who are already exhibiting.  --- ## Before you approach a gallery  #### [Consider doing it yourself first](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  You could find a venue, start a collective, or set up your own project space. Artists and gallerists from Maureen Paley to Jeremy Deller started something amazing in someone’s spare bedroom, studios and DIY spaces. Exhibiting your work independently can attract the people you want to reach.  Working with others can also help – group exhibitions spread the workload, and pooling your networks, experience and skills can reach more people and sometimes get more attention. Many of the best galleries in the UK are, or began as, artist-run spaces. If you’re thinking about this approach, visit a few together locally and elsewhere, to work out the type of space you want to be.  #### [Invite curators personally](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  If you do host your own show, send thoughtful, personalised invitations to curators and others you want to connect with. Invite them for a one-to-one tour and a brew. Tell them why you think your work may interest them, given what you know about them and their research interests.   Think about why this particular person would find what you do interesting and have a solid reason to invite them, other than “You’re a curator. You have to help me…” The worst that can happen is they say no. But they might say yes! If they can’t make it, don’t take it as a snub – they’re probably genuinely busy. Send them a link to the documentation of the show. They might change their mind or come next time.  #### [Engage with galleries you like](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  Go to openings, talks, screenings and events. Meet and talk with people. Being seen at events and performances and directly engaging with a gallery programme really counts. It shows you want to be involved. Do this with a few different galleries to make useful comparisons. Being recommended or introduced by someone else is one of the most common ways artists connect with galleries. > Be invited. Be introduced. Be recommended. (Be patient.) This is the realistic way that you will find yourself in a gallery, and it’s where the majority of artists are plying their trade. The indirect route is the organic process of relationships with other people, and development of your work over a period of time. **Gavin Wade** Director, Eastside Projects, Birmingham #### [Build a strong website and online presence](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  A clear, professional and up-to-date website is often the first stop for galleries and curators who want to find out who you are.  - Ready-to-use template options include WordPress, Squarespace, Indexhibit and Cargo.  - Keep things plain and simple. You’re trying to draw attention to your artwork so use good quality photographs and clear explanations.  - Caption photographs of your artworks with the title, date, materials, size, and credit photographers. Include concise notes to explain the context or background of the work if appropriate.  - Write an artist statement but avoid long, flowery descriptions and artworld clichés like ‘blurring the boundaries’ or ‘juxtapositions’. If you know writing isn’t your thing, ask someone else who has a background in the visual arts to write about you. - Include clear contact details.  Social media is also useful but treat it as part of your professional practice:  - Share work regularly, follow others, join conversations and stay visible.   - Be human, but don’t share so much personal content that your artwork gets lost.  #### [Research whether a gallery is right for you](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  Look at who they represent, what their programme is like, and where their artists exhibit. Ask yourself:   - Does my work fit here?  - Would showing alongside the gallery’s other artists work for me? It’s not always good to show alongside others whose work looks visually similar or could be mistaken for yours, but at the same time if you’re surrounded by other artists you don’t like or understand it can be equally tricky. A gallery artist should be on board with the general programme and be happy to be an advocate for it.  Also, take care when approaching people – a generic email shows you haven’t done your homework. If you’re approaching a female gallerist for example, an email which begins ‘Dear Sir,’ will almost certainly end up in the trash folder.  #### [What can the gallery do for you?](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  Think about your aims: - Do you want to show with other artists in group exhibitions? - Do you need help in finding a museum context? - Do you need someone to help you fund or commission your work? These are all unlikely scenarios unless the gallery approaches you first, but by looking at what they have done with other artists it might give you an idea of whether or not they are the type of place you want to work with. #### [Is it right to commit?](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)    Be careful with legally binding contracts, especially if they ask for money. Most reputable commercial galleries operate a sales relationship based on mutual trust, not upfront fees. Be wary of anyone asking you for money or to sign something legally binding, which will tether you to them.  Interestingly, it’s often not in a gallery’s interest to have such a loose approach to working with artists. It's often the case that a gallery will invest lots of time and resource into an artist’s career development only for a bigger, seemingly more successful gallery to make an offer to the same artist. It’s a risk that galleries often take, and it’s not always a bad thing when an artist decides to move on.  To be part of a successful artist’s biography is also valuable, as from the gallerist’s point of view, they can be seen as an early advocate and a spotter of talent. This is why it takes time for a gallery to approach someone with a view towards representation. The trust works both ways. Good galleries stick by their artists and expect their artists to do the same for them.  Before committing to a gallery, consider your long-term goals: - Where you want to be in 5-10 years’ time. Does it make sense to commit to something for that long? - Will it allow your practice to grow and develop? - Remember that most galleries won’t offer representation immediately – they’ll likely start with smaller opportunities first.  ## What to do next This guide is designed to empower artists by sharing knowledge and insight into the sector. You could use the advice in this guide to create your own personalised plan of next steps.  #### Related topics [Return to Resources](https://www.artistsnow.com/resource-library-search.html) ### You may also be interested in [](https://www.artistsnow.com/resource/now-showing-must-see-exhibitions.html) #### [Now Showing: must-see exhibitions](https://www.artistsnow.com/resource/now-showing-must-see-exhibitions.html) Highlights from Artists Now members, including a solo show by Jonathan Baldock and Rachael Clerke's Transactionland. Stories [](https://www.artistsnow.com/resource/out-now-a-n-degree-shows-guide-2026.html) #### [Out now - Degree Shows Guide 2026](https://www.artistsnow.com/resource/out-now-a-n-degree-shows-guide-2026.html) Brimming with energy and imagination, explore the work of 31 graduating students from art schools across the UK. News Did you find this page helpful? --- ## On this page [Introduction](https://www.artistsnow.com/resource/approaching-galleries.html#Introduction)  [How to approach galleries](https://www.artistsnow.com/resource/approaching-galleries.html#How%20to%20approach%20galleries) [First steps](https://www.artistsnow.com/resource/approaching-galleries.html#First%20steps) [Before you approach a gallery](https://www.artistsnow.com/resource/approaching-galleries.html#Before%20you%20approach%20a%20gallery) ## Introduction When I was a gallerist, I often wished there was a simple guide I could send to artists who ask about showing work or getting advice: something useful and informative, which doesn’t destroy dreams but at the same time doesn’t give unrealistic expectations about the art world.  Your own instinct as an artist is probably your strongest – and building relationships with galleries is no different to any other kind of human interaction. Don’t be rude. Be genuine. Don’t force things if it doesn’t feel right. --- ## How to approach galleries There’s no guaranteed method for getting gallery representation or being invited to exhibit. The idea of ‘approaching a gallery,’ which is often encouraged in art school, doesn’t reflect how an artist might build a sincere and valuable relationship with a person or organisation who’s interested in selling or showing their work.  Turning up with work in-person or forcefully pitching yourself can feel awkward for both sides. As an artist, you might feel you risk rejection, humiliation and ridicule. As a gallerist, it can feel like being confronted by an overly eager stranger.  So why do people still do it? Because artists want their work seen: since the time when recent graduates lovingly compiled plastic portfolios of carefully selected slides, to the modern phenomena of tagging the world on social media. But coming on too strong can backfire and leave you feeling discouraged.  --- ## First steps Find out more about what galleries there are out there, who works for them, what they show and what interests them (what are their research interests? what exhibitions have they curated before?)  Doing your research will build your confidence and helps you make meaningful connections when your paths cross. Speak to peers, stay connected with people you studied with, and learn from artists who are already exhibiting.  --- ## Before you approach a gallery  #### [Consider doing it yourself first](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  You could find a venue, start a collective, or set up your own project space. Artists and gallerists from Maureen Paley to Jeremy Deller started something amazing in someone’s spare bedroom, studios and DIY spaces. Exhibiting your work independently can attract the people you want to reach.  Working with others can also help – group exhibitions spread the workload, and pooling your networks, experience and skills can reach more people and sometimes get more attention. Many of the best galleries in the UK are, or began as, artist-run spaces. If you’re thinking about this approach, visit a few together locally and elsewhere, to work out the type of space you want to be.  #### [Invite curators personally](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  If you do host your own show, send thoughtful, personalised invitations to curators and others you want to connect with. Invite them for a one-to-one tour and a brew. Tell them why you think your work may interest them, given what you know about them and their research interests.   Think about why this particular person would find what you do interesting and have a solid reason to invite them, other than “You’re a curator. You have to help me…” The worst that can happen is they say no. But they might say yes! If they can’t make it, don’t take it as a snub – they’re probably genuinely busy. Send them a link to the documentation of the show. They might change their mind or come next time.  #### [Engage with galleries you like](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  Go to openings, talks, screenings and events. Meet and talk with people. Being seen at events and performances and directly engaging with a gallery programme really counts. It shows you want to be involved. Do this with a few different galleries to make useful comparisons. Being recommended or introduced by someone else is one of the most common ways artists connect with galleries. > Be invited. Be introduced. Be recommended. (Be patient.) This is the realistic way that you will find yourself in a gallery, and it’s where the majority of artists are plying their trade. The indirect route is the organic process of relationships with other people, and development of your work over a period of time. **Gavin Wade** Director, Eastside Projects, Birmingham #### [Build a strong website and online presence](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  A clear, professional and up-to-date website is often the first stop for galleries and curators who want to find out who you are.  - Ready-to-use template options include WordPress, Squarespace, Indexhibit and Cargo.  - Keep things plain and simple. You’re trying to draw attention to your artwork so use good quality photographs and clear explanations.  - Caption photographs of your artworks with the title, date, materials, size, and credit photographers. Include concise notes to explain the context or background of the work if appropriate.  - Write an artist statement but avoid long, flowery descriptions and artworld clichés like ‘blurring the boundaries’ or ‘juxtapositions’. If you know writing isn’t your thing, ask someone else who has a background in the visual arts to write about you. - Include clear contact details.  Social media is also useful but treat it as part of your professional practice:  - Share work regularly, follow others, join conversations and stay visible.   - Be human, but don’t share so much personal content that your artwork gets lost.  #### [Research whether a gallery is right for you](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  Look at who they represent, what their programme is like, and where their artists exhibit. Ask yourself:   - Does my work fit here?  - Would showing alongside the gallery’s other artists work for me? It’s not always good to show alongside others whose work looks visually similar or could be mistaken for yours, but at the same time if you’re surrounded by other artists you don’t like or understand it can be equally tricky. A gallery artist should be on board with the general programme and be happy to be an advocate for it.  Also, take care when approaching people – a generic email shows you haven’t done your homework. If you’re approaching a female gallerist for example, an email which begins ‘Dear Sir,’ will almost certainly end up in the trash folder.  #### [What can the gallery do for you?](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)  Think about your aims: - Do you want to show with other artists in group exhibitions? - Do you need help in finding a museum context? - Do you need someone to help you fund or commission your work? These are all unlikely scenarios unless the gallery approaches you first, but by looking at what they have done with other artists it might give you an idea of whether or not they are the type of place you want to work with. #### [Is it right to commit?](https://www.artistsnow.com/resource/approaching-galleries.html?utm_campaign=AM%253A%2BResources&utm_medium=email#)    Be careful with legally binding contracts, especially if they ask for money. Most reputable commercial galleries operate a sales relationship based on mutual trust, not upfront fees. Be wary of anyone asking you for money or to sign something legally binding, which will tether you to them.  Interestingly, it’s often not in a gallery’s interest to have such a loose approach to working with artists. It's often the case that a gallery will invest lots of time and resource into an artist’s career development only for a bigger, seemingly more successful gallery to make an offer to the same artist. It’s a risk that galleries often take, and it’s not always a bad thing when an artist decides to move on.  To be part of a successful artist’s biography is also valuable, as from the gallerist’s point of view, they can be seen as an early advocate and a spotter of talent. This is why it takes time for a gallery to approach someone with a view towards representation. The trust works both ways. Good galleries stick by their artists and expect their artists to do the same for them.  Before committing to a gallery, consider your long-term goals: - Where you want to be in 5-10 years’ time. Does it make sense to commit to something for that long? - Will it allow your practice to grow and develop? - Remember that most galleries won’t offer representation immediately – they’ll likely start with smaller opportunities first.  ## What to do next This guide is designed to empower artists by sharing knowledge and insight into the sector. You could use the advice in this guide to create your own personalised plan of next steps.  #### Related topics [Return to Resources](https://www.artistsnow.com/resource-library-search.html) ### You may also be interested in [](https://www.artistsnow.com/resource/now-showing-must-see-exhibitions.html) #### [Now Showing: must-see exhibitions](https://www.artistsnow.com/resource/now-showing-must-see-exhibitions.html) Highlights from Artists Now members, including a solo show by Jonathan Baldock and Rachael Clerke's Transactionland. Stories [](https://www.artistsnow.com/resource/out-now-a-n-degree-shows-guide-2026.html) #### [Out now - Degree Shows Guide 2026](https://www.artistsnow.com/resource/out-now-a-n-degree-shows-guide-2026.html) Brimming with energy and imagination, explore the work of 31 graduating students from art schools across the UK. News Did you find this page helpful?